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Soleá. Progressive studies for Flamenco Guitar by Mehdi Mohagheghi

Soleá. Progressive studies for Flamenco Guitar by Mehdi Mohagheghi

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Shipment period 3 working days
Description:

Soleá Progressive studies.

Series of 44 Soleá studies for flamenco guitar, suitable for all levels. Measures and falsetas (variations) are gradually studied, reaching the right level to play falsetas of the artists like Vicente Amigo, Tomatito, Moraito,... Once you dominate all the studies, you will be able to play your own pieces mixing different falsetas studied in this DVD.

Book/DVD CONTENTS:

Soleá.

Basic “LLamadas”

Study 1: The first 6 beats

Study 2: Beats 6-12

Study 3: Beats 1-12 ( one complete “compás”)

Study 4: A complete “compás” using triplet rasgueos

Study 5: A complete “compás” using 4-stroke rasgueos

Study 6: A complete “compás” using 5-stroke rasgueos

Study 7: A complete “compás” using Arpegios

Remates

Study 8: Beats 10-12 ( called Remate) is the ending phrase of each “compás” of solea

Study 9: Another variation of Remate

Study 10: Another variation of Remate using Ligados

Study 11: Another variation of Remate using Ligados

Study 12: Another variation of Remate using Ligados

Study 13: Another variation of Remate

Advanced “Llamadas”

Study 14: A complete “compás” using a remate for beats 10-12

Study 15: Another complete “compás” using a remate for beats 10-12

Study 16: A complete “compás” using Arpegios and Ligados

Study 17: Another example

Study 18: Another example with a new remate

Study 19: Another example

Study 20: Another example

Study 21: Another example with a more complicated pattern for beats 7-9

Study 22: Another example

Study 23: Another example

Study 24: An example with two complete “compás”

Study 25: A complete “compás” using Picado

Study 26: Another example using p/i

Study 27: An example using Rasgueos, with some syncopation

Study 28: A complete “compás” using Alzapua

Study 29: Another example using more complicated Alzapua

 

Falsetas

Falseta 1: This falseta can be used as an introduction, Paco Serrano

Falseta 2: A traditional flaseta, also useful for improving the left hand technique

Falseta 3: A modern falseta useful for practicing Arpegios, Vicente Amigo

Falseta 4: A traditional falseta using Arpegio/ Picado

Falseta 5: A traditional falseta

Falseta 6: A falseta which can be used as an Introduction, Paco Peña

Falseta 7: A tremolo falseta, Paco Peña

Falseta 8: A modern Falseta, Tomatito

Falseta 9: A modern Falseta, Paco de Lucia

Falseta 10: A modern falseta, Mehdi Mohagheghi

Flaseta 11: An arpegio falseta, Moraito

Falseta 12: A modern falseta, Mehdi Mohagheghi

Falseta 13: This falseta can be used to end Solea, Tomatito

Falseta 14: Ending, Mehdi Mohagheghi

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Soleá Progressive studies.

Series of 44 Soleá studies for flamenco guitar, suitable for all levels. Measures and falsetas (variations) are gradually studied, reaching the right level to play falsetas of the artists like Vicente Amigo, Tomatito, Moraito,... Once you dominate all the studies, you will be able to play your own pieces mixing different falsetas studied in this DVD.

Book/DVD CONTENTS:

Soleá.

Basic “LLamadas”

Study 1: The first 6 beats

Study 2: Beats 6-12

Study 3: Beats 1-12 ( one complete “compás”)

Study 4: A complete “compás” using triplet rasgueos

Study 5: A complete “compás” using 4-stroke rasgueos

Study 6: A complete “compás” using 5-stroke rasgueos

Study 7: A complete “compás” using Arpegios

Remates

Study 8: Beats 10-12 ( called Remate) is the ending phrase of each “compás” of solea

Study 9: Another variation of Remate

Study 10: Another variation of Remate using Ligados

Study 11: Another variation of Remate using Ligados

Study 12: Another variation of Remate using Ligados

Study 13: Another variation of Remate

Advanced “Llamadas”

Study 14: A complete “compás” using a remate for beats 10-12

Study 15: Another complete “compás” using a remate for beats 10-12

Study 16: A complete “compás” using Arpegios and Ligados

Study 17: Another example

Study 18: Another example with a new remate

Study 19: Another example

Study 20: Another example

Study 21: Another example with a more complicated pattern for beats 7-9

Study 22: Another example

Study 23: Another example

Study 24: An example with two complete “compás”

Study 25: A complete “compás” using Picado

Study 26: Another example using p/i

Study 27: An example using Rasgueos, with some syncopation

Study 28: A complete “compás” using Alzapua

Study 29: Another example using more complicated Alzapua

 

Falsetas

Falseta 1: This falseta can be used as an introduction, Paco Serrano

Falseta 2: A traditional flaseta, also useful for improving the left hand technique

Falseta 3: A modern falseta useful for practicing Arpegios, Vicente Amigo

Falseta 4: A traditional falseta using Arpegio/ Picado

Falseta 5: A traditional falseta

Falseta 6: A falseta which can be used as an Introduction, Paco Peña

Falseta 7: A tremolo falseta, Paco Peña

Falseta 8: A modern Falseta, Tomatito

Falseta 9: A modern Falseta, Paco de Lucia

Falseta 10: A modern falseta, Mehdi Mohagheghi

Flaseta 11: An arpegio falseta, Moraito

Falseta 12: A modern falseta, Mehdi Mohagheghi

Falseta 13: This falseta can be used to end Solea, Tomatito

Falseta 14: Ending, Mehdi Mohagheghi

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